| Id |
| 199 |
| Author |
| Brown, A., S.; Novak-Leonard, J., L.; Gilbride, S., |
| Title |
| Getting in on the act: How arts groups are creating opportunities for active participation. |
| Reference |
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Brown, A.S.; Novak-Leonard, J.L.; Gilbride, S. (2011). Getting in on the act: How arts groups are creating opportunities for active participation. San Francisco, CA: The James Irvine Foundation.
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Keywords |
| Active participation; Arts; Participatory arts; Audience engagement
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| Link to article |
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| Abstract |
| https://irvine-dot-org.s3.amazonaws.com/documents/12/attachments/GettingInOntheAct2014_DEC3.pdf
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| Metodology |
| Case studies
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| Findings |
| The authors propose the model of audience involvement spectrum, which illustrates the five overlapping stages of involvement. On a continuum, authors provide a distinction between more receptive and more participatory stages, according to the passive or active involvement of spectators. The receptive stages are: Spectating, which is fundamentally an act of receiving a finished artistic product and is therefore outside the realm of participatory arts practice; and Enhanced Engagement (educational or “enrichment” programs may activate the creative mind, but for the most part do not involve creative expression on the part of the audience member). The participatory stages are: Crowd Sourcing, when audience becomes activated in choosing or contributing towards an artistic product (e.g. youth mosaics, photography contests, an opera libretto comprised of Tweets, virtual choruses); Co-Creation, when audience members contribute something to an artistic experience curated by a professional artist (e.g. participatory theater; pro/amateur concerts; storytelling events; participatory public art) and Audience As Artists, when audience members substantially take control of the artistic experience; focus shifts from the product to the process of creation (e.g. public dances, community drawing contests). Within the three participatory stages of the Audience Involvement Spectrum (CrowdSourcing, Co-Creation and Audience-as-Artist), audiences may engage with the art at various levels of interactivity or creative control: curatorial engagement (selecting, editing, organizing, voting), interpretive engagement (performing, remaking an existing work of art), or inventive engagement (creating something entirely new). This adds another layer of complexity to the spectrum, and may be helpful in providing language to describe a complicated area of arts practice.
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| Open Access |
| YES |
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